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Un Blonde – Good Will Come to You (Egg Paper)

Perhaps the most obscure artist to
vault onto this year’s Polaris Music Prize long list, Jean-Sebastien Audet
spent his teenage years in Calgary with a variety of musical projects, which is
probably why the latest album by this 19-year-old and recent Montreal
transplant sounds so accomplished, even though it’s incredibly bare, featuring
little more than acoustic guitar and layers of Audet’s gospel-tinged harmonies.
(For anyone, like me, who’s been seeking out Prince demos online since that
legend’s death, Un Blonde has further resonance.) One song is called “I Felt
the Evening Come Through the Window,” and indeed, Audet retains the sound of
falling rain outside his apartment, along with seagulls and other ambient
noise. Audet isn’t just a singer-songwriter fond of sparse arrangements; on
instrumental tracks like “Exercise A,” he also explores ambient textures (with
what’s either a melodica, accordion or harmonium—hard to tell). Good Will Come to You features 21 songs
in 46 minutes; tiny perfect sketches that speak volumes about the man’s talent. (June 9)

Stream: “Celebration,” “Brand New,” “Staying in Line”

case/lang/veirs – s/t
(Anti)

The first time I ever heard Neko Case, I hadn’t been that
electrified by a North American woman’s singing voice since k.d. lang. Twenty
years later, the two women have formed a trio with Oregon singer/songwriter
Laura Veirs. It sounds amazing—on paper.

Both lang and Case are powerhouse vocalists who can leave
listeners—at least this one—in a weepy mess. Veirs—well, frankly, it’s a bit of
a mystery what she’s doing here. (I’m sure she’s a lovely person.) She doesn’t
distract from the potential in this recording—she’s certainly a decent
singer—but it’s not clear that she adds anything, either.

It starts out with a promise: opening track “Atomic Number”
finds all three women trading off lines. That promise quickly evaporates: most
tracks are solo turns, with the other two providing backing vocals, the likes
of which could really have been performed by any studio professionals
(admittedly, a rare occurrence in the age of solo artists multi-tracking their
own backups). We’re denied the sublime pleasure of Case and lang exchanging
lines, or even singing a lead in two-part harmony.

Much of the collaboration here took place in the songwriting
process, which might be the problem: for the last 20 years, k.d. lang has been
a masterful interpreter but a middling songwriter; Veirs is perfunctory, but
not capable of writing material for a project like this; Case, the strongest
songwriter of the three, has an idiosyncratic flair that may not lend itself to
surrender. Veirs’s husband, producer/engineer Tucker Martine, dresses up the
material in impeccably bland arrangements, with strings and woodwinds and
vibraphones that merely clutter up the sonic space that should be left wide
open for these voices to roam.

Naturally, there are sublime moments, starting with lang’s

“Honey and Smoke,” which ranks as one of her finest torch songs
in the Roy Orbison mode. Case’s “Delirium”—written by all three, an apparently
the song with the longest gestation—is the highlight here. Neither are enough,
however, to compensate for the squandered potential here. Let’s hope the tour
brings out the best in them. (June 23)

Case/lang/veirs play Toronto’s Danforth Music Hall on Aug. 16.

Stream: “Atomic Number,” “Delirium,” “Honey and Smoke”

Brandy Clark – Big Day in
a Small Town (Warner)

Still have tears in your beer since
ABC cancelled Nashville? Well, cheer
up, because there’s a new Brandy Clark album. The 40-year-old songwriter, who’d
penned hits for or with Miranda Lambert, Reba McEntire and Kacey Musgraves, was
thrust into the spotlight with 2013’s 12
Stories, the kind of album songwriters of every genre study carefully, full
of both killer one-liners, developed narratives and astute character sketches.

Here, Clark steps up into the big
time, with a major label and a producer, Jay Joyce (Eric Church, Carrie
Underwood) who beefs up her (previously predominantly acoustic) sound for radio
play. Thankfully, it’s not an unrecognizable makeover: the core of Clark’s
charm and songcraft remain. She can be incredibly poignant, as on the
examination of faded youth on “Homecoming Queen,” or laugh-out-loud funny, on
“Broke”: “Ain’t
enough apples for our apple pie / if we had a penny not sure we could spare it
/ we’re sitting on the porch drinking generic / Coke / we’re broke.” And
she’s got sass to spare, as on the first single, in which she taunts, “If you
want the girl next door, go next door.” (June 9)

Stream: “Girl Next Door,” “Broke,”
“Homecoming Queen”

Doomsquad – Total Time
(Hand Drawn Dracula)

Granted, there are moments here
that sound like the soundtrack to a ritual sacrifice at a rave somewhere north
of Sudbury. But when it comes to spookier-than-thou psychedelic trance music,
it doesn’t get much better than these three Toronto siblings, who recruited
Mary Margaret O’Hara to sing backups for them, and whom Wolf Parade picked to
open their sold-out reunion shows in New York City. There are elements of dub
reggae, hippie jams, plenty of goth angst, and you can practically smell the
incense coming out your speakers. It’s certainly divisive, but to these ears,
it’s just perfect for summer nights in subversive times. (June 2)

Did you know one of the best bands in the world is playing the
Italian Canadian Centre in Guelph this week? And Maxwell’s in Waterloo shortly
after that? (And the major jazz festivals in Toronto, Ottawa, Montreal and
Quebec City as well.)

Fanfare Ciocarlia are a Balkan brass band from a remote Romanian
village, celebrating its 20th anniversary this year. In 2014 they
recorded an album with Guelph guitarist Adrian Raso, owner of the Little Shop
of Guitars on Quebec Street. They’ve already toured in Europe; now they’re
finally bringing it to major jazz festivals in Canada—and a local wedding hall
in Guelph.

Here they’re on their own, doing what they do best: incredibly
fast and brash brass lines, frenetic rhythm driven by sousaphones and two
percussionists, and occasional vocal forays sung in their Roma language. It’s
physically impossible not to dance to this music, the dizzying horn and
clarinet lines adding to the euphoria.

The band’s style has evolved over the years, and not just
through their work with Raso. Here, the oddball pop entry is a cover of the
1950s slow-grinding classic “I Put a Spell on You,” by Screamin’ Jay Hawkins.
Here it’s sung by Iulian Canaf, a comically histrionic soulman who attained
notoriety as a contestant on the Romanian version of TV’s The Voice. It has to be heard to be believed—though, truth be told,
the original is just as much of an oddball, (literally) snortin’ good time. (June
23)

Fanfare Ciocarlia and Adrian Raso are playing Toronto with the
Lemon Bucket Orchestra on June 29 at the Opera House, the Guelph Italian
Canadian Club on July 2, and at Maxwell's in Waterloo on July 5.

Stream: “Crayfish Hora,” “Out to Lounge,” “Mista Lobaloba”

The Kills – Ash and Ice
(Domino/Outside)

The Kills are a bluesy guitar duo
who’ve survived and thrived almost 15 years after forming, with much credit
going to attention magnet Alison Mosshart—who also fronts perhaps the finest of
all Jack White projects, the Dead Weather. Mosshart and guitarist Jamie Hince
claim they wanted to flip the script on this, their fifth album, and even cited
hip-hop master Pusha T as a big influence. Which is an interesting ploy to
convince people that Ash and Ice is
some radical reinvention, when in fact it’s just another Kills record, no
better or worse, with slightly more interesting drum programming. It may not be
fair to compare, but Mosshart is much better utilized in the Dead Weather,
where her howls and snarls and sexual energy is completely captivating; in the
Kills, one always gets the sense she’s underplaying her power. That does allow
her to sink her teeth into some of the slower material, exploring the torch
singer into which she’ll inevitably evolve some day. (June 9)

Stream: “Doing It to Death,” “Hard
Habit to Break,” “Days of Why and How”

King Gizzard and the Lizard Wizard – Nonagon Infinity (ATO)

A nonagon, for the geometrically
challenged among us (I looked it up), is a nine-sided figure. This is the
eighth album by this seven-piece Australian band in the last four years. All those
numbers add up to: infinity?

That’s the intention behind these
nine rollicking psychedelic rock songs, which not only flow seamlessly into
each other like a 42-minute suite, but the last track also flows back into the
first if you (are weird enough to) leave your player on “repeat.” That journey
often travels at a breakneck speed, with influences from Led Zeppelin’s
“Communication Breakdown” through Deep Purple and Can and Iron Maiden and
Stereolab—basically, any band that’s ever strapped themselves to a runaway
train. Nonagon Infinity is more than
just a thrill ride, however, with a keen sense of dynamics, spacey keyboards
and guitar textures balancing the hard-driving riffs and rhythms. (June 9)

Stream: “Evil Death Roll,” “Road
Train,” “Robot Stop”

Pantha du Prince – The Triad (Rough Trade)

I played this record in a cabin in
the woods one morning, surrounded by a symphony of birds—who fit in seamlessly
with the stuttering bells and chimes that have become the trademark sound for
this German producer. His rhythms have much more swing in them than you’d
expect from minimal techno, and he’s more prone to using major chords than most
of his peers. This time out there are more vocalists employed, though not to
particularly great effect; his keyboard leads are still the main melodic
driver.

The producer has mused that he’ll
bury the name after this album, having achieved everything he wants to with
this aesthetic. The Triad isn’t as
strong as its predecessor, Black Noise—he’s
starting to sound like a one-trick pony—so perhaps that decision is wise. In
the meantime, the birds in my neighbourhood are more than happy to sing along. (June 2)

Of Monsters and Men have shifted our perceptions of Icelandic
music away from esoteric electronica, avant-garde pop stars and whatever it is
Sigur Ros happens to be, and toward catchy yet bland radio rock. Which is why
it’s refreshing to encounter Samaris, a Reykjavik trio that draws from ’90s
trip hop, dubby electronica and the (relatively) more recent sounds coming from
London’s Hyperdub label, including Hamilton’s Jessy Lanza. Breathy female
vocals and strong, skittering beats—even at slower tempos—are adorned with
equally dreamy and disquieting synths, making for languid, late-night vibes. (June
30)

Stream: “Wanted 2 Say,” “Black Lights,” “3y3”

Sate – Red Black and Blue (independent)

Canada has no shortage of rock bands. What this country is
lacking, however, is fantastic rock singers: people who can grab a song by the
throat, who can be heard above electric guitars even without a microphone. More
howlers, fewer growlers, please.

Enter Sate, a.k.a. Saidah Baba Talibah—daughter of Salome Bey,
one of this country’s greatest R&B/jazz voices in the ’70s and
’80s—reinventing herself as a rocker here, after starting her career in a
bluesier vein. The blues is still present here, but on opening track “Warrior”
she goes for the jugular in ways the Toronto scene probably hasn’t seen since
Danko Jones. “You’re gonna know my name / from the Mississippi to the Rhine,”
she boasts—and by the end of the track you’re more than inclined to agree. As
strong as that song is, in the context of the album it seems like a gimmick to
get you to pay attention. Once she’s got you hooked, Sate starts to get
serious: right away she delves into the blues of “What Did I Do,” and “Mama
Talk to Me” is a poignant, emotional rocker about Bey’s struggles with
dementia. For all her fiery delivery, the upbeat tracks here suffer in
comparison with the slower numbers, especially the gorgeous, gospel-tinged
closer, “Peace.” Red Black and Blue
is an uneven record by an artist searching for her sound, but there’s no
denying that Sate is a force to be reckoned with. Her talent is too enormous to
be denied. (June 30)

Stream: “Warrior,” “Mama Talk to Me,” “Peace”

Andy Shauf – The Party
(Arts and Crafts)

One of the most anticipated Canadian albums of the year is by
this mild-mannered Regina singer/songwriter, who steps into the big time by
signing with Arts and Crafts in Canada and Anti in the U.S., the label that is
also home to the new album by k.d. lang, Neko Case and Laura Veirs, with whom
Shauf will be touring this summer. Wilco’s Jeff Tweedy is a huge fan, as is
novelist Nick Hornby. The hype seems strange for songs of such subtle
pleasures; Shauf is on the same wavelength as Beck’s acoustic moods, or Elliott
Smith, an early influence. And he’s chosen as his coming-out party a concept
album of sorts, connected songs set at a house party, a series of character
sketches that highlight Shauf’s eye for nuance. The playing and production are
impeccable—all Shauf solo, except for the strings—though Shauf’s sedated vocals
drag some of the material down; The Party
in question is more than a bit of a bummer. No matter. This record puts plenty
of wind in his sails; the after-party promises to be a lot more exciting. (June
2)

Stream: “The Magician,” “To You,” “Martha Sways”

Tegan and Sara – Love You to Death (Universal)

It’s heartening that an act like
Tegan and Sara get bigger and bigger with each album—rare in the chart-pop
sphere they no longer aspire to, but to which these 36-year-old sisters
rightfully belong. Working again with producer Greg Kurstin (Adele), who helmed
2013’s Heartbeat, Tegan and Sara aim
for stadiums and come up with a gold rush of hooks and radio-ready
melodies—granted, few with the undeniable punch of Hearbeat’s “Closer” or “I Was a Fool,” which would be hard to top.
“Boyfriend,” however, is unusually lyrically rich bubblegum, a lesbian love
song that will forever erase the memory of Katy Perry’s “I Kissed a Girl.” (June
9)

This week we lost 72-year-old Bernie Worrell, the synth wizard
of Funkadelic and Talking Heads and session player on hundreds of recordings
(and sampled on hundreds more hip-hop records), who redefined the keyboard’s
role in R&B and funk and pop. A few months ago we lost Keith Emerson, 71,
who redefined the role of piano, organ and synth in jazzy and bombastic rock
music. And a few months before that, we lost Allen Toussaint, 77, the man who
almost single-handedly introduced the unique New Orleans sound into rock and
soul music, midwifing recordings by Lee Dorsey, the Meters, Labelle, The Band
and Dr. John. It’s been a horrible 12 months for keyboard heroes. Hey, Herbie
Hancock: hope you’re feeling okay.

This is the final recording by Toussaint, who, in the last
decade of his life, was making lovely, simply adorned records that took
leisurely strolls through his legacy. This one is no different, walking through
a century of American music by composers such as Duke Ellington, Billy
Strayhorn, Bill Evans, Earl King, Professor Longhair, Fats Waller and more,
including Toussaint’s own compositions (including his hit for Glen Campbell,
“Southern Nights”) and the title song, by Paul Simon. That song, the last one recorded
for the album—a month before Toussaint’s death of a heart attack following a
performance in Madrid—contains these lyrics: “And I dreamed I was dying / And I
dreamed that my soul rose unexpectedly / And looking back down at me / Smiled
reassuringly.”

Produced by Joe Henry, who also helmed 2009’s The Bright Mississippi, American Tunes features the sympathetic
rhythm section of drummer Jay Bellerose and Toronto bassist David Piltch, with
guest spots from Bill Frisell, Greg Liesz, and vocalist Rhiannon Giddens.
Toussaint’s reputation as a producer, arranger and songwriter often
overshadowed just what a brilliant piano player he is: here he displays a
magical touch that ranges from classical flourish to swinging jazz to
boogie-woogie, all delivered with elegance. I thought I knew everything
Toussaint could deliver until I heard him dive into a 19th-century
composition by Louis Moreau Gottschalk, who was born in New Orleans but spent
most of his life in the Caribbean and South America. Surprising us right until
the end. (June
30)

Stream: “Big Chief,” “Danza, Op. 33,” “Dolores’ Boyfriend”

Paul Simon – Stranger to Stranger (Universal)

“Stranger to stranger / if we met for the first time / this
time, could you imagine us falling in love again?” It’s hard to imagine anyone
hearing Paul Simon for the first time in 2016, anyone not coming to a new Paul
Simon record without some kind of preconceived idea. But I’m willing to bet
that if they did, they’d be just as beguiled as someone hearing any of the
iconic songs or albums that have made him such an enormous part of American
music in the last half-century. “Certain melodies tear your soul apart,” he
sings—and he should know.

Here, we find Simon once again delving into rhythms from Africa,
South America and New Orleans, gospel harmonies, electronics (many lessons
learned from his 2006 collaboration with Brian Eno, Surprise), and melodic
remnants of his ’70s prime, all the while playing the role of the slightly
bewildered and flustered Baby Boomer poet laureate adrift in the modern world.
Only Paul Simon could write a song about being denied backstage access
(“Wristband”) and make it funny and a metaphor for economic stratification
rather than merely the precious complaints of a rock star. Simon often suffers
when he suffocates from his own seriousness; he does not have that problem on
this joyous and spritely album, on which he sings: “I make my verse for the universe
/ I write my rhymes for the universities / I give it away for the hoot of it /
I tell my tale for the toot of it.”

The best three tracks are cross-generational collaborations with
Italian DJ Clap! Clap! (who came recommended by Simon’s 23-year-old son),
though everything else is produced by longtime guiding light Roy Halee, who’s
worked on almost everything Simon has ever done, dating back to Simon &
Garfunkel’s first record in 1964. Halee is now 81, and apparently had to be
instructed on ProTools to record this album (seriously, what took him so long,
and why now?); the modern sound of Stranger
to Stranger more than proves why Halee has been the ideal midwife for
Simon’s vision since day one. (June 2)